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This was on a movie channel yesterday, but just could not get into it. Grusin seemed to be an odd choice composer, nor was I impressed with the music aside from the Steiner quote.
Never mind, it's quoted from Korngold's. The CD is very loooong. Without the Fratelli Chase there wouldn't be much left that can be called "memorable". I've never seen the flick, but I was warned about the score being not as great as many think it is.
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Posted: |
Mar 31, 2010 - 5:49 PM
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By: |
spielboy
(Member)
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come one, it's a wonderful score. Maybe a bit long (I have this feeling almost for every score released today... even Goldsmith's PLAYERS sounds a little repetitive, and it's only 37 min long!).
many themes to enjoy here, my favourite being the "ship theme", heard in full glory at the finale. But Data's theme is also nice, and of course the Fratelli's.... And Willy's theme, or even the Goonies own theme, heard in that pop arrangement at the end
there's also a wonderful charming secondary theme heard a couple of times, I dont know what scenes or characters it is related to... And beyond the leit motif approach we have set pieces like the organ scene (with the percussion) or the fan water slide music (I remember this from the suite).
and how about Grusin interesting orchestrations? For a teenage old-fashioned new-age adventure, he carefully mixes traditional symphonic score with some ascending/descending misterioso synth cues that really work and gives the score a fresh edge without dating it.
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Posted: |
Apr 21, 2010 - 8:47 PM
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By: |
jedijones77
(Member)
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This was my top most-wanted unreleased score. I am thrilled with it and have listened to it a bunch of times already. The Fratelli chase is flat-out one of the best themes I've ever heard. It's relentlessly engaging and exciting with just the right amount of tongue-in-cheek playfulness. It's so original, unlike anything I've heard before or since. It represents the best of what the movie accomplished when all its competing styles came together in the right way. The only regret is that they discovered this would be the main theme so late in the scoring process that it never got to be reprised during the finale of the movie (except in the film cut where it's briefly tracked in). The alternate Fratelli chase cue is also really good as a slightly darker action piece, but would have been all wrong for setting the tone of the movie, which cleverly used the chase scene as a "vehicle" for introducing the goonies.
The Willie and map theme is probably the next best one on the album. It's spooky, haunting, mysterious, uplifting and magical all at once. The sometimes melancholy, main Goonies theme gives a nice soulful depth to the score. It seems to capture a bittersweet sense of saying good-bye to good friends or treasuring a joyful moment as a memory while at the same time knowing you'll never experience anything quite like that again. And there are wonderful bits of quest/adventure music as the journey gets started. The score does get a bit slow in the middle after most of the main themes are introduced, but it soon picks back up again with the Skull Cave Chase music and then never lets up. The collection of miscellaneous action, chase and suspense themes that comprise most of the back half of this CD are non-stop, toe-tappingly, heart-poundingly, spectacularly fun and exciting. And they are beautifully counterbalanced against smaller sections of the softer themes that were introduced before, as well as the satisfyingly grand, majestic music for the pirate ship.
If anything, the Korngold quotes are one of the least interesting parts of the score. They just don't have the same personal, intimate, unique and clever touch that most of the other music does. Although the quotes sound better when Grusin starts weaving them in and out of other music instead of quoting them wholesale. The genuinely weak parts are when Grusin mimics Psycho and baby lullaby music for Sloth and Mama Fratelli. That's just not as fresh and original as everything else here and is really kind of annoying. The teen romance "kissing" theme is probably the one original bit of scoring that pales compared to the others. It sounds like typical, generic, bubbly, 1980s teen stuff. But thankfully that theme is only used briefly a couple of times. One overall weakness is that the cues are pretty short, probably due to the rapid-fire editing of the film as it cuts back and forth between the large cast. So not too much of the music gets to develop into a longer, self-contained piece that feels complete on its own, with the notable exception of the very cool Playing the Bones track. That occasional feeling of disjointedness is the only thing that keeps this from topping Superman IV as the best buried treasure of a score I've heard in many years.
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